Saturday, February 1, 2014

Essay 1 – On the Absence of Paint

Every
seasoned painter who has reached a certain level of craft and understanding
knows that the absence of paint on the canvas can sometimes lead to the
best results. Little patches of not covered canvas, either white or with an
imprimatura, or a transparent underpainting,bring light into the painting making it more vibrant and lively.The absence of thick paint allow light
falling onto the painting to reflect through the layers of paint. This creates
a feeling of painting beingflooded with
light, or an impression that the painting itself emanates light. When it comes
to painting, there are a few basic elements that, when approached and applied
properly, usually lead to a successful piece; things like composition, tonal
and color arrangements, the expressiveness of the application of paint, the
presence (suggestion) of light in the painting, etc.Most people react to the aspect of light in the
painting as something that appeals to them more than any other aspect,
regardless the subject matter or a type of light depicted. Consciously and
unconsciously, we yearn for light!

Many painters, old as well as contemporary, have applied this technique
often achieving wonderful results characterized by the impression of lightness,
airiness and effortlessness. But the ability to properly apply this technique
comes with experience (surprisingly… ) for only through practice is one able to
master it and therefore make the painting more extraordinary, instead of just
creating a feeling of unintended or artificial “unfinishness” . This absence of
paint has to be organically woven into the painting as a whole.I think one of the best examples of the power
of this principle is the work of Rembrandt. Unlike the wide spread notion that
the main quality of his work is to be found in the thick and expressive impasto
parts, in fact the true secret of his work lies in his transparent and vibrant
shadows.

Needless to
say, in order to see the full impact of this technique one needs to analyze the
original paintings.

Gustav Klimt, a detail from Pallas Athene

Anyway, for
the less pragmatically orientedsouls
among us, who are inclined to search for the clues “ behind the physical
canvas”, here is another explanation.

After all,
why using the paint if you can reach your goals without it. Why speak, when
silence has already spoken. As one progresses, one learns how to free himself
from the unnecessary, and therefore burdens himself only with what really
matters to him.

Although many of us, in one or another way,
eventually become aware of the idea of the power of ABSENCE, or “acting by not
acting”, it takes many years to fully accept, incorporateand eventually apply it properly in one’s
work. It seems obvious that one of the main obstacles is not being able, or not
willing to believe that in order to create a really extraordinary impact, one
does not have to always “shoot from all canons”, so to speak. This brings me to
the related subject of the overuse ofelements and details in a painting. Again, it takes time and experience
(professional as well as life experience) to realize and truly accept that all
that abundant presence of forms and details, sparkling glitter and glamor on
the surface, not necessarily reflect the essence of things. Moreover, it is not
unwise to conclude that -the more
glitter on the surface, the greater the possibility that the things are hollow
and empty from inside.This principle of
compensation is very indicative and often points out towardsthe
notion of substitute, a substitute for something that is missing, something
more fundamental.

Gustav Klimt, Unterach on the
Attersee

Ilya Repin, a detail from The
Zaporozhian Cossacks write a letter to the Sultan of Turkey

One of the fundamental aspects of the artistic expression is to creatively react to the stimulation coming from the outer world. But in my opinion just as important, if not more important, is to express (as smart/suggestive and as broad/deep as possible) a commentary, or a critique, about the nature of this stimulation and its impact on the individual, the community as well as the natural world, and if necessary point out another direction, another option, inspire and encourage another approach, point of view; with intention to deepen the insight, to enrich and improve.

Yes, in our times we are experiencing a unique situation which shows us that the world (especially the certain parts of it) at present state is not able to handle abundance (excess) in a proper, mature way, eventually causing many visible and invisible problems, which seemingly can only increase their grip on the human being of the future, disassociating him further from his own foundations. Generally, commercial art, according to its nature, reflects that state of mind, plays with it, obeys it, stimulates it, helps it endure. Unlike the commercial art, free art not only reacts, it also tries to ACT (in that respect I dare call it High Art), and has a slightly different approach and often reflects that second function of art mentioned above. Beside his urge to state the facts, if ARTIST is not a herald of something more uplifting, universal and more enduring, who else is? … Well, I better stop rambling … in fact this might be a good subject for one of my next posts.

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